Light Waves Dark Skies

Light Waves Dark Skies

I wrote a piece for the National Theatre Wales Community Blog about my work for Light Waves Dark Skies by We Made This. There’s a one-off performance at Pontardawe Arts Centre, tonight. PAC was also a partner in making the project. Then next week we’re at Chapter Arts Cardiff.

It’s a lovely show (I’m biased, but I think I’m right about this!), about the sea, star-gazing and dealing with loss. The blog’s about my design process. Here’s a link: Continue reading

Open Studio 2016: photos

Open Studio 2016: photos

My main occupation is scenography. I design sets, costumes and video for performance; mainly new writing and devised work. I love the collaborative nature of theatre but I think it’s important to maintain a personal fine art practice alongside it, not necessarily for public exhibition or sale but in order to keep asking myself who I am as an artist and what I have to offer my collaborators. So when it came to finding something to show at Bow Arts Open Studios 2016, I decided to share some of this work. Continue reading

A Tale of Two Exhibitions

A Tale of Two Exhibitions

(Originally published in Blue Pages, the journal of The Society of British Theatre Designers)

In 1979 my mum was running the art gallery at Harlow Playhouse, I was very small (but apparently not too small to be captivated by theatre models) and the UK won the Golden Triga at the Prague Quadrennial. Three and a half decades later I find myself organising a display of theatre design in the same town and meeting a new generation of young people. But we’ll have to wait until later in the year before we know about the Golden Triga.

A post-war new town, Harlow has a remarkable history of civic cultural activity; when it was founded it even had its own string quartet. Its single most notable aspect is the sculpture collection, and Harlow was recently given the official title of “Sculpture Town”. It’s even on the signs as you drive in. Harlow’s arts scene was greatly diminished in the late 80s and 90s, mainly because of rate-capping, and for a while it was without an art gallery. It also lost its iconic 1950s Town Hall, designed by the town’s master planner, Sir Frederic Gibberd. The replacement building is architecturally bland but does house a fantastic exhibition space. Continue reading

A Bigger Splash: Painting after performance – a personal response

A Bigger Splash: Painting after performance – a personal response

(Originally published in Blue Pages, the journal of The Society of British Theatre Designers)

Visiting A Bigger Splash: Painting after Performance, currently at Tate Modern, is an odd experience for a theatre designer. The exhibition interrogates the relationship between performance and painting – and, in fact, other visual media – from a variety of angles, sometimes tenuously but almost always in a way that is engaging and thought-provoking. However, it does this entirely within the frame of reference of visual art. It is as if performance outside the art gallery either does not exist or is merely a cultural phenomenon to be knowingly referenced; not a major group of art-forms that have their own evolutions, their own traditions and their own avant-garde movements. Yet we, as theatre designers, are engaging with many of the same issues as the artists in the exhibition, and with no less professionalism and integrity.

Continue reading

Visual artists as Theatre Designers: a response

Visual artists as Theatre Designers: a response

(Originally published in Blue Pages, the journal of The Society of British Theatre Designers)

The original Guardian article, to which this responds, can be read here.

“Why don’t more visual artists do theatre?” This was the somewhat alarming headline introducing a Mark Lawson article in The Guardian in July. The piece itself was more nuanced. Crucially, he accepts that “stage design is clearly a form of art” and narrows “visual artists” down to “full-time painters and sculptors”. Nonetheless, there is something very fundamentally wrong with the underlying assumptions. I would argue that this is because we see ourselves not as jumped up scene painters, out of our depth in complexities of visual art, but as amphibians – operating fully in both visual and performance environments.

Continue reading